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Ian Maksin (Cello) – Fourth Presbyterian Church Noonday Concert – April 20, 2018

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Maksin was introduced and sprinted to the front of the room, cello in hand, sat down, and immediately started playing, without a word. The program listed his first selection as a Bach suite, but even to my unsophisticated ear it didn’t sound like Bach. Phew, I was right. When he finished the selection, he stood and said yes, the audience was right in thinking it wasn’t Bach. He had added something of his own to the program based on some music he had recently heard in Turkey.

He also added a new composition of his at the end of the program that included an electronic element. I would have preferred it played acoustically.

In between, Maksin played a couple compositions by friends and three of his own, one of which included nine variations on a Russian theme, which he described as a journey through geographic regions. This reminded me of the great Victor Borge, who famously played his nine variations of Happy Birthday, as if played by Tchaikovsky, Chopin, Brahms, Wagner, Beethoven, Strauss, Mozart, Berlin, and Shostakovich.

In addition to his musical abilities, Maksin has an engaging personality, but Borge was a classic (and an excellent musician). Do yourself a favor and watch and listen to his Happy Birthday variations at https://www.youtube.com/watch?v=hkkHz8xq7lE.

Maksin seemed very much to lose himself in the music, as evidenced in part by him closing his eyes (or so it appeared from where I was sitting) during much of his playing. This took me back to violinist.com once again, this time for a discussion about playing with eyes open or closed (http://www.violinist.com/discussion/archive/4385/). The key takeaway from my perspective is, don’t play with your eyes closed unless you know the music by heart (Maksin did).

Lilibet Snellings – American Writers Museum (AWM) – April 19, 2018

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It doesn’t have the ring of great literature, a compelling who-done-it, or timely historical fiction, but how could I not go to a program about a book entitled Box Girl: My Part Time Job As An Art Installation (not to be confused with either Girl in the Box, the serious, made-for-tv movie based on a true story about a kidnapping, or Million Dollar Baby, a movie about a boxing girl).

Snellings read passages from her book about her Los Angeles life as a twenty-something self-described “slash” (writer/waitress/actress/model/Box Girl) trying to eke out a living. While the inclusion in the book of the Standard Hotel, Hollywood’s Box Girl rules didn’t demonstrate Snelling’s writing skills, her observations about the rules regarding things like the wearing of underwear in the box were amusing. There were several times during her time at the podium, while reading or answering questions, when she delightfully made herself, and then the audience with her, laugh.  I also recommend looking at the hotel’s own Inside the Box webpage.  Very odd.

One of the questions to Snellings had to do with the possibility of a movie based on her book. It made me wonder whether a movie about a box girl would be good box office (sorry about that).

The program was a fundraiser put on by the Chicago Council of the AWM for the educational programs of the AWM, which meant that there was good cheese and wine, although sadly no red wine out of fears of spillage according to the bartender (I suggest that the museum check out the Good Housekeeping website for cleaning tips so I can have my red wine next time.

 

Louder Than a Mom (Martyr’s) and Story Lab Chicago (Mrs. Murphy’s and Sons) – April 16 and 18, 2018

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At Martyr’s, as with the last time I was there (see blog of March 19), my friend Terry and I were two of only a handful of men in the audience and again there was only one male story teller (this time Terry). Other than Terry, who is always funny, the highlights were the woman who told about giving herself a Brazilian wax and the woman who told how she cut a cast off her mother’s leg in the bathroom when she was a child. It wasn’t a show for the faint of heart.

Two days later, at Mrs. Murphy’s, it was my turn to tell a story. Nine friends came in support, one just back from a month in New Zealand. She won the hypothetical prize for farthest traveled to see the show.

I was pleased that the audience laughed at my story in all the right places. One never knows when rehearsing to an empty living room at home. I also wasn’t displeased by the compliments I received afterward from imperfect strangers (nobody’s perfect).

As for the other story tellers at Mrs. Murphy’s, one has green hair and told a story about her vaudevillian mother Topsy, which included mention of intercourse on top of a bar immediately following a bar room brawl. You have to love that.

I also took some small measure of satisfaction from the fact that one of the other story tellers adopted two minor suggestions for additional humor I gave him for his story at the prep session (perhaps my life’s dream to be a script joke doctor can still come true).

And, because I couldn’t help myself, I also had suggested at the prep session that someone else not look up at the ceiling so much while telling her story, which advice she took by instead closing her eyes for much of the time she was talking. I think she missed my point. And perhaps I should leave directing to others.

A Taste of Things to Come – Broadway Playhouse Theater – April 14, 2018

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A Taste of Things to Come wasn’t highly recommended, but the reviews were in positive agreement on two things – the cast was great and the songs were fun. (I also agree. In particular, Marissa Rosen’s physical comedy elicited a lot of laughs.) Combine those things with reduced-price tickets on Goldstar (which wound up being sixth row center!) and a nearby venue, and I was sold.

According to the program, cast member Linedy Genao originated the role of Rachel in On Your Feet. Cindy and I saw On Your Feet last week (see earlier blog) and neither of us could remember a character named Rachel, so we looked it up online during intermission. (What did people do during intermission before smart phones? Did they have to talk to each other? Or were the lines for the bathroom longer in those days?)

There was no character named Rachel in the online cast list for the current Chicago production of On Your Feet, which put off thoughts of senility for at least one more day, and which also got me to thinking about ensemble members and whether the actors give them names even if those names don’t appear in the program.

I found an interesting website called Theatrefolk (the drama teacher resource company). It has a page that discusses ensemble members who aren’t named in the script creating names and backstories for their characters (https://www.theatrefolk.com/blog/creating-a-strong-ensemble/). Apparently even ensemble members need to know their motivation.

Then I found the original Broadway cast list for On Your Feet and sure enough, there’s Genao, playing an ensemble member named Rachel (https://www.ibdb.com/broadway-production/on-your-feet-497820). Perhaps the character should have gotten identity theft protection when the show went on the road.

On Your Feet (The Emilio & Gloria Estefan Broadway Musical) – Cadillac Palace Theater – April 7, 2018

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The one time I don’t sit on the aisle at a play, the cast comes dancing down both middle aisles right before intermission, interacting with the audience, even inviting a few of the patrons sitting on the aisles to stand up and join in the fun. Thus I miss my chance to make a complete fool of myself in front of hundreds of people.  Darn.

The audience was ready to party from the start of the show, including the six young women who sat in the row in front of us, exuding excitement. As they funneled in, Cindy said they looked as if they were sisters. Good call. They turned out to be four sisters and two sisters-in-law, which caused Cindy to make some reference to the Duggar family, apparently a reality tv show family with 19 children, of which I was unaware, and so I kept asking Cindy to repeat what she was saying, thinking that she was saying Donner family and wondering why she was comparing this innocent looking group of young ladies, out to have a good time, to a group of cannibals.

Until we cleared up that confusion at intermission, I kept my eyes on the ladies, just in case. Also, at intermission, half the audience pulled out their smart phones and started searching online for information on Gloria Estefan’s mother, who, we were told in the show, had been offered, but had declined, prior to her daughter’s birth, the chance to leave Cuba to go to Hollywood to dub Shirley Temple’s singing voice in Spanish.

I was just as interested in the actress playing the mother, whose name looked familiar. Looking at her credits in the program, I probably have seen her before, but I think the reason her name looked familiar is, I discovered, that she is the sister of the woman who played Melina in Total Recall. So, close but no cigar, Cuban or otherwise.

Adult Seminars (Classics of Comedy and Wonderful Town II) – Newberry Library

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As Justice Potter Stewart might have said, I may not be able to define comedy, but I know it when I see it (or hear it, or read it). And I’m quite certain I know what is meant by a classic. So I was somewhat taken aback when the instructor for the Newberry winter seminar on Classics of Comedy picked as our first reading a short story no one in the class had heard of, by an author none of us (or the internet based on my search) had heard of, and that wasn’t funny, except to the instructor.

So it didn’t come as a shock when the instructor informed us that the author was a friend of his who, the instructor (and presumably the friend/author) believed, hadn’t received the recognition he deserved. Now that’s classic, but not why I enrolled in the seminar. So I left during the break of the first class to claim a refund of the registration fee. I imagine the instructor didn’t think that was funny, but I did.

I also enrolled in a Newberry winter seminar called Wonderful Town II, about music from New York in the 30s, 40s, and 50s. What a difference. The instructor, Guy Marco, has an encyclopedic knowledge of the music of those years (which he experienced first hand, as he is 90 years old), from Broadway to classical to pop to opera. When I asked him how many rooms his music took up at home, he answered “all of them.”

He even made the mercifully short operatic selections tolerable (which is saying a lot coming from me) with his detailed and humorous analyses, such as his observation in one instance that there was no way to determine from the story line why a particular character had died. And he signed off the last class doing his best Benny Hill impression. His dry wit led me to think that he also should have taught the Classics of Comedy seminar.

Hee-Young Lim (cello) and Kuang-Hao Huang (Piano) – Chicago Cultural Center – April 4, 2018

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For the first time at any of the Dame Myra Hess Memorial Concerts I have attended, some people, despite the caution in the printed program, applauded between movements, in this case after the second movement of Shostakovich’s Sonata for Cello and Piano in D Minor. I can’t say I blame them for their enthusiasm.

The allegro movement featured a rousing section of head bobbing and resulting hair tossing by Lim as she poured all her considerable talent and energy into rapid bowing and fingering in a section of the music accurately described in the program as “churning cello accompaniment.” I think Lim may have been getting as good a workout as I did in this morning’s Pilates class.

As I read the program description, it reminded me of a wine review. Compare “aromas of rich dark currants, nectarine skins, and gushing blackberry, but lots of fragrant tobacco, rich soil, white flowers, and smashed minerals; medium-bodied and saucy but racy acidity that stabilizes the wine nicely with the robust tannins” with “after a repeated note codetta, the exposition is repeated; then the development section commences with an impulsive discussion of the first theme, ominously underpinned by the repeated-note idea in the piano.”

The program also noted that the piece by Offenbach was dedicated to Arsène Houssaye, like I would know who that is. (He turns out to be a French novelist, poet and man of letters, which I believe my blog now makes me.)

After watching Lim and Huang walk off stage and back on between selections, I finally got around to searching for a satisfying answer as to why classical musicians do this. I found a good discussion on violinist.com.

The best answer for me was that you don’t want to be onstage when people stop clapping. So, musicians finish, bow, acknowledge the audience, and exit gracefully, which gives the audience a chance to stop clapping without being rude. One other possible explanation related to the Weak Bladder Marathon Highlights.

Jasmine Lin and Joseph Genualdi (violins), Paula Kosower (cello) and Bradley Opland (double bass) – Chicago Cultural Center – April 2, 2018

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There’s a long tradition of classical musicians wearing black (see http://www.classicfm.com/discover-music/musicians-black-concert-dress/), so I’m used to seeing all the members of an orchestra, or string quartet, dressed in black (as they were today), but I started thinking more about it when Opland entered for the second half of the program, wearing not only a black suit, but also a black hat, which together made him look like he’d just come from a gig with the Blues Brothers.

Though I like the suggestion that wearing black reduces the need to clean the clothes, I also like that idea that black clothes limit the amount of distraction, but not for the obvious reason. I think it should be done out of consideration for anyone in the audience who has chromesthesia, and thus perceives colors from sound (see https://en.wikipedia.org/wiki/Chromesthesia). If the musicians are dressed in other than black, the chromesthesiac (?) may see colors based upon the music that clash with the color of the clothes.

Continuing the “what are they wearing” theme, I noticed that none of the musicians had on wedding bands. That got me to wondering again about custom, which led me to a web page that includes a conversation among violinists about wearing or not wearing rings while playing their instruments (http://www.violinist.com/discussion/archive/13515/).

The music itself was beautiful, my favorite part being when Opland, who plays with the Chicago Symphony Orchestra, was given a bass solo during the allegro movement of Rossini’s Sonata #6. He extensively tapped the instrument, and though he was clearly improvising some of it (not your typical classical program), it led me to wonder about notation for tapping, which led me to a user’s manual for the orchestra, which, unlike most user’s manuals, is reasonably intelligible (see second item down on http://andrewhugill.com/manuals/bass/extended.html – be sure to watch the video).

Near the end of his solo, Opland permitted Lin, after some back and forth playfulness, to pluck one of his strings (not a metaphor). I’m relatively certain that there’s no notation for that.

The Nerdologues Presents: Your Stories: Cast Away Edition – American Writers Museum – March 30, 2018

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We missed some of the Nerdologues program out of fair-weather fan loyalty to the Loyola basketball team, watching the entirety of their defeat at the hands of Michigan. I didn’t mind showing up late, as the Nerdologues program was scheduled to last three hours, which seems like too much of anything, except Lawrence of Arabia, which flawlessly clocks in at 3 hours and 48 minutes. (How did Peter O’Toole not win the Best Actor Oscar?)

We got to the program at intermission, which was perfect timing. It gave us a chance to have a conversation with Kevin Turk, one of the founders of International Tom Hanks Day (ITHD), which was being celebrated by the Nerdologues in this special edition of their weekly podcasts.

Kevin gave us the history of ITHD, how it started as a college keggger, an excuse to drink and watch movies all night. Four years in, Hanks found out about it and the rest is history, as the event has turned into an annual charity fundraiser. The night’s raffle prize was a DVD of Saving Mr. Banks, which the Nerdologues made fun of, but I admit I liked, which must put me on the extreme edge of nerdom.

Attendance was sparse, probably due to the mystical convergence of Holy Saturday, Passover, and the Final Four. Instead of hearing serious stories handed down from generation to generation for thousands of years (or in the Loyola Ramblers’ case, 55 years), we heard four storytellers, three of whom were very funny as they related first-hand experiences of ramblin’ man road trips and raunchy parties (the fourth merely rambled on incoherently).

We also heard a few songs, including one that included a nice Roy Orbison impression, and one that featured someone playing a melodica, a wind-powered portable keyboard instrument that looked like a tricked-up hookah (see picture).

Nell Scovell – Chicago Ideas – March 28, 2018

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Even with her marital tie to the movie industry (in case you’ve been living in a cave the last five years, her husband is George Lucas), well-known president of Ariel Investments Mellody Hobson, who described herself as a geek in designer clothes, seemed like an odd choice to interview comedy writer Nell Scovell until Hobson informed the audience that the two of them were close friends who spend a lot of time together.

They got to know each other when Sheryl Sandberg asked Hobson to write a chapter on race and owning who you are for Lean In for Graduates. Scovell had cowritten Lean In with Sandberg, who asked her to work with Hobson on her chapter in the second book.

As Hobson tells it, upon submitting her chapter, Scovell called to tell her that she and Sandberg had two things in common, they were both really smart and they both were terrible writers. This made me wonder whether Scovell might have ghostwritten Sandberg’s forward to Scovell’s book Just the Funny Parts: … And a Few Hard Truths About Sneaking into the Hollywood Boys’ Club.

The book, as the title indicates, is about more than the funny parts. Scovell has long been a behind-the-scenes talent, well-known in the industry for her comedy writing for many television shows. She even has worked with Barack Obama, for whom, Hobson emphasized, Scovell wrote for White House Correspondents’ Dinners, not a State of the Union Address.

But Scovell made a public name for herself when she wrote a 2009 Vanity Fair essay, “Letterman and Me,” (https://www.vanityfair.com/style/2009/10/david-letterman-200910) that discussed issues relating to the employment and treatment of women in the late-night talk show arena.

Like the book, the interview covered both the funny and the serious. Her discussion of humor ranged as far as quoting the opening line of the novel Scaramouche – “He was born with a gift of laughter and a sense that the world was mad.” Scaramouche, a buffoon character in the commedia dell’arte, is, of course, not to be confused with Anthony Scaramucci, who was White House Communications Director for 10 days.